The core of the things I do and the art I make is rooted in the writing, art and social practices of ancient Asian, and late 1800/early 1900 European rebels who empowered the role of the individual and questioned the norms of their time. Formal influence ranges from Dadaism to Suprematism, from embroidery to haiku. My personal culture stems from the fruition of punk rock reasoning and a life-long practice with the hand-made, continuously addressing ethics and the active role that art plays in shaping social history.

When I make things, I use a combination of complex code-creation in tandem with fluid (or even messy or dangerous) chance. For example, burning holes in wool to form a night sky star pattern, or dabbing bleach to draw notes derived from sheet music. Materials and concepts are chosen for their accessible, embedded meanings and act as interpreters – the language of which varies for each reader/viewer.

The object, project or installation is the “first impression.” From there, others are invited to get to know the work better over time – not much different than a relationship, really. Generosity of interpretation is laid bare when I leave the work and then, new conversations can begin.

Since 2005 I have been writing casually and seriously about art and art related topics.
In 2011 I shifted toward focusing and developing the historical, critical and theoretical contexts of the art that I am writing about. I write in a voice conducive to what the work calls for, whether it is anecdotal first person, or more formal and analytical.

It is my purpose as a writer to engage with the work in thoughtful and meaningful ways, and entice readers to view artwork beyond first glance.